A captivating and disturbing piece. Well done:)

tracks I'm playing on

Performed by Annie Gårlid, Mathilde Conley, and Nathan Plante
Texts from James Joyce and Hermann Broch
Samples recorded by Noa Frenkel, Mathilde Conley, Andrea van Noord, Annie Gårlid, Constanze Priester, Max Murray and Samuel Stoll - 2014

Max Murray | Szene nach Aktion / for alto, two piccolo trumpets, and fixed media

Performed by Olivia Stahn [soprano], Mathilde Conley, Florian Baccuet, Paul Hübner, Chloë Abbott [trumpets], Samuel Stoll, Morris Kliphuis [horns], Wojciech Jeliński, Weston Olencki, Maxine Troglauer [trombones], Gunnhildur Einarsdóttir [harp] Matthias Engler [percussion], Max Murray [conductor]

Max Murray | Schaufeln | Brayen — Rain / for soprano, nine brass instruments, harp, and percussion

Juste Janulyte, Unanime, long version for 8 trumpets
The Monochrome Project, live @ festival Romanische Sommer, Cologne 6th June 2021
Marco Blaauw, Christine Chapman, Mathilde Conley, Rike Huy, Bob Koertshuis, Nathan Plante, Markus Schwind, Laura Vukobratović

Juste Janulyte, Unanime, The Monochrome Project

for ten brass 

written for Apparat, for the program GVILD MVSIK (September 2023). 

tpt: Paul Hübner, Mathilde Conley, Chloë Abbott, Florian Baccuet
hn: Samuel Stoll, Morris Kliphuis 
tbn: Wojciech Jeliński, Weston Olencki, Maxine Troglauer 
tba: Max Murray

more information: www.westonolencki.com/sonata

Sonata pian e forte [2022-23]

Live Recording
Ensemble Kollektiv @ MaerzMusik, March 2024.

Teeth

first performance 27/11/2024
Ensemble Apparat. KM28 Berlin.

Mathilde Conley- trumpet
Samuel Stoll- french horn
Weston Olencki, Henrik Munkeby Nørstebø, Mattie Barbier- trombone
Max Murray- tuba

is this the land i wish death to find me

The Death Of Rave, 30. April 2015, 2LP, Album 
gaborlazar.com / markfell.com

Watch Aphex Twin playing Mark Fell and Gábor Lázár at Field Day London 2017: goo.gl/hkud0m and at Primavera Sound Barcelona 2017: https://goo.gl/3wT1sc

The Quietus on Aphex Twin at Field Day London: "...one of the most head-spinning moments around 30 minutes into his set thanks to a cut from Mark Fell & Gábor Lázár's 2015 record released via The Death Of Rave."
https://goo.gl/6DfjN1

The Wire Magazine (Issue 376, June 2015):

"[...] Formed from an ascetic palette of untreated beats and single-frequency synths, The Neurobiology Of Moral Decision Making flaunts Fell and Lázár's microscopic attention to detail throughout, with each track drawing your attention to a tiny parameter variation. Unlike the pointillist studies of Ryoji Ikeda and Florian Hecker, the results are unexpectedly itchy, funky and exhilarating - as the press release says, this neuroscience is "almost compatible with footwork". Amid all the odd numbered time signatures and disorientating multitimbral drones, the disc works a sincere homage to the intricate web of kick drums and snares of Chicago dance music.

When Autechre and Aphex Twin deployed loops of ball-bearing sounds a decade and a half ago, in "VI Scose Poise" and "Bucephalus Bouncing Ball" ,things could slip up and fall flat. This self-conscious IDM was, as Matthew Ingram put it in The Wire 349, "the worst of both worlds, like pipe-smoking breakdancer". Here, in the untitled seventh track, the same rhythmic pattern spawns five minutes of compelling material, a rapid dancefloor cut in which Fell's beat suddenly drops midway through, leaving Lázár's synth flickering alongside a flurry of invisible trainers. The album retains a focus on the danceable, at least until the 12 minute finale, whose strobing and pitched-up snares from the highest bpm of the entire set. Like Hans Christian Andersen's gory tale of the red shoes, this flurry of hyper-rhythmic noise finally passes the bounds of footwork altogether, pointing towards a mechanical state in which human dance is impossible. [...]"

Resident Advisor:

"Rave deconstruction has been back in the spotlight lately. Established figures like Russell Haswell and Mark Fell are in high demand from young labels like Diagonal and Liberation Technologies. And a new generation of musicians are following in their footsteps, taking the conventions and materials of dance music and reshaping them in weird and wonderful ways. Lee Gamble, a self-professed Editions Mego fanatic, puts techno under the microscope. Lorenzo Senni pens bizarre sonic essays on trance. Budapest's Gábor Lázár, meanwhile, fires out machinegun patterns of abrasive synth tones, transforming a single eardrum-scraping rave sound into a study on the psychedelic properties of the dance floor. Music this intensely minimalist is difficult to get right. It risks draining its subject of the qualities that make it so exciting, or else prioritising concept over a musically engaging outcome. Lázár's productions have been improving in this respect, but it's on this collaborative album with Mark Fell that he makes a major breakthrough. [...]" 

Norman Records:

"If you already know Gábor Lázár’s music then you’re probably already a Mark Fell fan and so you won’t be surprised that this collaboration between them has yielded what has to be some of the most rhythmically radical and seizure-inducing futurist electronica being made on planet Earth right now.[...]"

Bleep:

"On The Neurobiology of Moral Decision Making, the duo deliver 10 pieces of off the grid, unsyncopated mastery, deconstructing of the steadfast preconceptions of dance music through a suite of constantly shifting time signatures, sporadic claps and sterile, modernistic melody. Such production methods obliterate the deeply rooted notions of rhythm, ushering in a new age of dance floor exploration.[...]"

Mark Fell and Gábor Lázár - The Neurobiology Of Moral Decision Making (2015)

KARST [2015-16]
for 22 instruments 
Ensemblekollektiv Berlin
Recorded by Deutschlandfunk Kultur
Live performance at MaerzMusik

Note: This is a live recording of the premiere performance. A superior studio recording is available on my portrait disc released by Kairos: www.kairos-music.com/cds/0018003kai (listen to that on Spotify or Apple Music)

More info here: www.timothy-mccormack.com/karst

KARST [2015-16]

Edited recording of reading session by Wet Ink: Erin Lesser, Liam Kinson, Alex Mincek, Rachel Drehmann, Weston Olencki, Ian Antonio, Laura Barger, Josh Modney, Marina Kifferstein, Carrie Frey, Mariel Roberts, Tristan Krause, with Eric Wubbels, conductor and Sam Pluta, recording engineer. St. Peter's Church, Chelsea, New York, NY. 2017.

I watched her smile her hand

for performer with phonograph turntable and contact microphones

Robert Wannamaker- phase diagram

gnarwhallaby performs Michelle Lou's Heart/Lung for bass clarinet, trombone, cello, piano/celesta, effect pedals, and transducers.

live performance on June 2nd, 2017 for WasteLAnd Music at LA City College.

michelle lou :: heart/lung [2016]

Michelle Lou
Telegrams
for prepared bass clarinet and bluetooth speaker

Liam Hockley, bass clarinet
Recorded April 26, 2018

Michelle Lou - Telegrams

the lion’s mouth (for secret denunciations)

for flute, clarinet, tuba, e-guitar, alto voice, violin, viola, cello, double bass, and live electronics.

composer: Kristian Ireland

years of composition: 2015-2017

performers: Ensemble Experimental
Noa Frenkel, alto voice
Maruta Staravoitava, flute
Nils Kohler, clarinet
Jozsef Bazsinka, tuba
Klara Tomljanovic, e-guitar
Marco Fusi, violin
Sophie Wahlmüller, viola
Daniela Shemer, cello
Dario Calderone, double bass
Steven Loy, conductor
SWR Experimentalstudio (Südwestrundfunk | Southwest Broadcasting) (Freiburg)
Michael Acker, live electronics and sound direction
Lukas Nowok, live electronics and sound direction
Constantin Popp, live electronics and sound direction

premiere: Giga-Hertz-Preis-Festival. ZKM | Zentrum für Kunst und Medien (Centre for Arts and Media). Karlsruhe, Germany. 24 November 2017.

Organisation
ZKM | Zentrum für Kunst und Medien (Centre for Arts and Media). Karlsruhe, Germany.

Sponsor
SWR Experimentalstudio. Freiburg, Germany.

More information about this work: www.kristianireland.com/note/

© 2017 Kristian Ireland

Listening: this audio recording is ideally heard through enclosed headphones or external stereo speakers with broad frequency range including sub-bass. This audio cannot be fully heard through earbuds or laptop computer speakers.

www.kristianireland.com

the lion's mouth (for secret denunciations)

Premiered at outHEAR Festival in Larissa, Greece on December 14th, 2019 by members of Klangforum Wien and PPCM. 

Felix Martl, bass clarinet
Mikael Rudolfsson, trombone
Leo Morello, cello
Joonas Ahonen, piano
Dimitrios Polisoidis, conductor

recorded by Dimitri Papageorgiou

[pictured: John Divola]

Sunol (2019) for bass clarinet, trombone, cello, and piano

for contrabass clarinet, euphonium, & percussion [2014/17]

Performed by wasteLAnd [www.wastelandmusic.org]
Brian Walsh [contrabass clarinet, www.brianwalshclarinet.org]
Matt Barbier [euphonium, www.mattbarbier.com]
Dustin Donahue [percussion, www.dustindonahue.com]

recording mixed by Nicholas Deyoe [www.nicholasdeyoe.com]

More info here: www.timothy-mccormack.com/kilni

KILN I [2014/17] - wasteLAnd

I make music. mostly with a trumpet. member of ensemble apparat, ensemblekollektiv berlin, and the monochrome project, among others.

Teeth

Michelle Lou

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